Subconscious Mind Control Techniques Pentagram

An independent monthly bulletin for all who want good magic

ACaaem&eK 1951 Sliice Cine SMiCing,

JUaist SiiMxmd,

The magician remarks that he has often been asked to explain the method by which the results in certain tricks are achieved, and he has decided, on this auspicious occasion, to demonstrate a lesson in magic.

He invites two gentlemen to come forward, one to act as his assistant, and the other as his pupil. The assistant stands on his right, while the pupil stands on his left. Two envelopes are handed to the assistant, who is asked to hand one of them to the pupil.

Under the performer's instruction, they remove the contents of their envelopes, each of which is revealed to contain a length of coloured ribbon. The gentlemen place their envelopes under their left armpits, and display the ribbons by holding them up by one end. Then they double the ribbons in the centre and hold them at this point, with the two ends hanging.

The performer produces a pair of scissors and cuts the assistant's ribbon at the centre. The gentleman opens his envelope, and the cut ribbon is placed therein so that he can seal down the flap.

The scissors are handed to the pupil who repeats what he has seen. The cut ribbon is similarly sealed in his envelope and left with him.

The assistant is now asked to open his envelope and remove the contents. He finds one whole piece of ribbon ; it is completely restored.

The pupil's envelope is opened, and he is surprised to find that he also has been successful, for his ribbon is restored. He is complimented, with the assistant, on a fine show, and although, like the audience, they are none the wiser, they will certainly remember their first lesson in magic.

If the routine is performed as described here, the two assistants and the audience will believe that the whole operation was carried out only under the performer's direction, and that he himself took no part in it.

The requirements are few : A roll of silk ribbon, about one inch wide, obtainable from Woolworth's. Cut three pieces, each about a yard long, off the roll, and one piece five to six inches long. Next take a one inch length of Selo Tape, or sticking plaster, and lay it on the table sticky side up. Attach one end of the short piece of ribbon to the tape, and then double the ribbon over and attach the other end to the tape, leaving a sticky portion between the two ends. Turn the loop inside out so that the sticky portion is on the outside, and press it down into a thumb-tip, pressing the sticky portion on to the inside of the ball of the tip. The loop of" ribbon will protrude from the tip, so pleat it concertina fashion and pack it down into the tip. This method of loading the tip makes for easier preparation, and supersedes the old stitching and glueing method.

Two envelopes are then required, one of which is faked with a double compartment. Long type envelopes are preferable, as the ribbon can be dropped in cleanly. Load the secret compartment with one of the lengths of ribbon and wet the tip only of the flap and seal it down to the back of the other flap. This facilitates the opening when the two flaps are stuck down. Place one of the other pieces of ribbon in the other compartment, and the final piece of ribbon in the unprepared envelope.

Load the tip in the trousers pocket, with the scissors alongside. Place the genuine envelope on top of the fake one, and you are ready.

Give the two envelopes to the right-hand gentleman, whom you name your assistant. Instruct him to take one (see that he takes the top unprepared one) and to give the other one to the pupil. The pupil is instructed to place his envelope under his armpit and watch what is done.

Instruct the assistant to open his envelope and remove the ribbon. This should convince the

A long neglected card classic, not deserving such a fate is the Ladies' Looking Glass.

True, four pairs of cards must be selected, but there is ample movement, no wasted time and no counting to create tedium.

It gives the impression of exceptional card control especially to magicians unacquainted with the feat. There are a few !

Possibly the fact that with the Modern Magic version it is necessary to perform the pass some eight or nine times may have resulted in its fall from favour. In Jean Hugard's More Card Manipulations, Volume 1, an attempt was made to limit the number of passes ; but I felt the manoeuvre did not satisfactorily supplant the pass.

My version completely eliminates the pass by making use of two original utility sleights, whose use is not restricted to this feat. They are :—

The Slip-out Location and The Over Cut.

The Slip-out Location is a method of bringing a selected card or cards to the bottom of the pack without changing the position of any other card. It was first ' hit on ' nearly twenty years ago whilst practising a method of reversing a card in the pack from Roy Walker's Card Mysteries. A description of it appeared in the then Plymouth Magicians' Club's organ " Multum in Parvo " in 1934 or 35. A very similar sleight was described by Jim Merlin in a copy of the Budget a few years ago.

The pack is loosely fanned with both hands for the return of the card(s). As it enters the fan it is gripped between the first and second fingers of the right hand and withdrawn sideways until it is clear of the fan ; a matter of J inch only. The fan is then closed and the card will almost automatically find it's way to the bottom of the pack.

A word regarding angles. If the audience eye level is above the cards (i.e., when standing) the move can be made without any movement of the hands or body. But if the eye level is a"; the same height or below the cards (i.e., when seated) then it must be covered by a slight swing of the body to the right and by raising the right hand higher than the left. Unevenness of the fanned cards will do much to mask the movement of the card (s).

The Over Cut transfers a card or cards from the bottom of the pack to the top without disturbing the order of the rest of the pack. It is merely the reverse of the Dai Vernon Under Cut, hence the name. It also differs from the Vernon Under Cut in the way the cards are held.

The pack is held in the left hand by the sides, between the thumb and the second and third fingers, the forefinger resting lightly at the top edge ; the little finger should be free. This position is very similar to that adopted at the commencement of the Charlier pass and Hindu Shuffle.

The right approaches and grasps the pack also between the thumb and second and third fingers lower down the sides of the pack ; this also closely resembles the position adopted in the Hindu Shuffle.

The right thumb separates one (or more) card(s) at the bottom of the pack and holds the break. This can be facilitated by the little finger of the left hand spreading the half dozen or so bottom cards very slightly.

continued on page 14

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There is a rather unusual subtlety in this effect that I think will appeal particularly to students of forces, but first to the routine :

Effect. From a newspaper the performer takes a double page of small advertisements. Many evening newspapers of the smaller page type carry such a set up.

The double page is handed to a member of the audience, and he is requested to tear it in two, producing two separate pages, and to discard whichever of them he pleases.

The performer illustrates this process by folding an odd piece of paper and tearing it in two.

Again the spectator folds his single sheet in half, tears it and discards half.

The process is repeated until the assistant is left with a piece of newspaper which is one sixteenth the size of the single page.

At this stage he is asked to read through the advertisements on this piece of paper. He is then to put the paper aside, face down.

The performer explains that he is carrying out an experiment on the volume of advertisements and publicity in general. His theory is that one of these advertisements will have been retained by the subconscious mind more than the others. An attempt will be made to recall it. Meanwhile the spectator is to relax.

Slowly the performer catches phrases from the advertisement until he eventually produces the gis t of the full announcement.

Method. The method employed is rather cute, but it is the angle of approach that mainly concerns us. I feel that it is rather new, and will bear further investigation.

For the preparation, take the double page of newspaper and having mentally subdivided each page into sixteen, make a note of some clearly worded advertisement, pretty well in the middle of each sub-division.

Next take a sheet of note paper, fold it in half, and subdivide each half into sixteen spaces.

In the middle of each space, write in pencil the appropriate advertisement from the divisions of the newspaper.

The working should now be obvious. In demonstrating the folding, the performer merely retains the part of his notepaper which corresponds to the part of the newspaper retained by the spectator, so that eventually he has the advertisement he is going to reveal. He glances at this and then discards it along with the rest, so that for the finale he is " clean ".

The patter about " sub-conscious " retention is, of course, a neat force which bears no resemblance to a force at all. As the spectator had a perfectly free choice all the way through, the audience is left with the impression that he actually chose one particular advertisement.

Of course, a single sheet of newspaper could be used, and there are alternative methods of obtaining the information. For instance : the performer could keep a check on the tearing and get his required slip from a pocket index. That is up to each individual performer ; the method I have suggested is good and natural.

The important thing to note is that people do believe that they retain subconscious impressions, and therefore the routine is plausible.

I believe it is a new angle, and a new ' force At any rate, both are useful and capable of development.

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This is based on a very excellent card trick published in one of the late Edward Bagshawe's books. The original had the disadvantage of requiring a confederate, but the single handed magician will find the new routine an effect with a " climax " which will puzzle the most intelligent audience.

A pack of cards each bearing the name of a well known film star is run through rapidly and shown to be all different. The cards are cut and three cards are selected, and shuffled into the pack in turn by the choosers. The performer relates that this particular effect was purchased by him the day previously and although he had unfortunately left the instructions behind at the shop he had the urge to show it immediately. He asks their kind indulgence and hopes nothing will go wrong.

The cards, which lie 011 a small tray from the commencement of the selections, are returned to the performer and he states that he will endeavour to extract the selected cards. He appears to get confused and after a few shuffles he boldly announces he will show another trick.

At this moment an envelope marked URGENT is handed up to him and excusing himself he opens it and extracts a letter which he famed 2toug£ad,'d acuuch

In company, usually at some time or other, the conversation turns to the subject of football pools and the price of tobacco. The following routine, presenting nothing new, is ideal for such an occasion and should appeal to those who like a hundred per cent, effect with ninety-nine per cent, self working easily prepared items.

The performer, choosing the opportune moment, removes from his pocket a postal order complete with counterfoil and an empty cigarette packet. A cigarette is borrowed, the counterfoil is removed from the P.O. and the latter folded in quarters. The cigarette and the folded P.O. are placed in the empty packet and when the packet is opened later the P.O. has vanished and is eventually discovered in the cigarette.

Requirements. Purchase two P.O.s numbers following each other, and alter the last figure of one with Indian ink to correspond with the other. The altered P.O. is detached from its counterfoil which is discarded. The counterfoil from the other P.O. is attached to the altered P.O. by gumming the edges of the perforations. The unfaked order is rolled into a small tube and inserted in a cigarette from which a sufficient quantity of tobacco has been removed.

Obtain two empty cigarette packets of a popular brand. Remove the trays and cut away the front of one leaving a little extra margin and glue this by the bottom and two sides to the inside and front of the other packet. This forms a secret pocket (a la Windsor Dye Box) which with a little pressure on the sides will open as required. Replace tray and place the faked cigarette within.

Working : At the opportune moment when the conversation is as described, remove the packet. Open slowly, gripping the cigarette through packet at bottom, and shake gently, remarking that you have run out of cigarettes. With the right hand remove P.O. and lay on the table, then borrow a cigarette. If you watch carefully before the trick

9tdwtn you should have no difficulty in selecting a gentleman with the same brand as your own. As the cigarette is being sought casually turn the packet in your left hand over and push in the tray which you will remember is partly sticking out. Push it in far enough to make it protrude at the other end. This will allow the fake cigarette to roll into the curled up fingers of the left hand which holds this position while the right takes the borrowed cigarette. Carry the right hand under the packet and immediately it is out of sight produce the fake and place in left ear. At the same time drop the packet and borrowed cigarette into the right jacket pocket.

Draw attention to P.O. and allow removal of counterfoil. Fold order in quarters and leave on table while you remove the packet again from jacket pocket. Remove tray and casually show, replace and holding the front side of packet facing you, place the folded order in the pocket, squeezing the sides to facilitate entry. The flap of packet (which I should have said has been slightly trimmed) shields this action.

The cigarette is removed from behind the ear and dropped in the packet and the flap is closed (going into the pocket).

The performer remarks that the only way he can get a return on his pool investments is by keeping his postal orders at home and making them appear in the-borrowed cigarettes. Suiting the words the cigarette is broken and the contents proved (?) to be the original P.O.

The reader will find that a preparation called NOSO, which is a white rubber cement, is ideal for faking the P.O. A very little on the perforations will be indetectable and any surplus can be removed by gently rubbing with the finger after the faked join has dried. Incidentally it is ideal also for rope faking. The trimming of the flap makes the closure of the latter slightly easier to execute.

Magic Qa Sieund

The passing of A1 Baker has left magic, real magic, very much the poorer. Like so many who have devoted thought and time in the perfecting and originating of magical effects, A1 Baker did not financially benefit in the way he should have done. The last gesture of American magicians in trying to amend this came a little too late. A great pity that in the waning years of his life so many things stopped an enjoyment of old age.

A1 Baker by his public and private writings will never be forgotten, and whilst in his books, that marvellous humour that was so delightfully his own does not come into his own, his " Letters to Harold ", (all too few of them) that appeared in the ' Sphinx ' show the real A1 Baker. He was unique and it is doubtful if we have or have had his opposite number in this country. An eminent member of the Magic Circle once wrote that the late Edward Brown was the English A1 Baker, a statement that made one wonder whether he had read the works of the latter or really studied the former's' work. Both men, outstanding in their own work, both men unique in their understanding in their appreciation, knowledge and gifts to Magic.

It was one of A1 Baker's concepts that every trick however good, had at least one vulnerable spot. In his last letter to us he discussed a very good contemporary effect and not only put his finger on its vulnerability but also showed by using a subtlety how this weakness could be overcome.

A1 Baker lived to help others. When Annemann as a youth commenced his life of city magic it was the Dean of Magic who made an early success possible. He will still help us in all his works that he has left behind.

Mr. C. Dudley Whitnall has already given us two very fine contributions dealing with playing card magic. In future issues of this volume we have some ' ring ' moves that should please those of our readers who are interested in this greatest of all classics. We have also persuaded Mr. Whitnall to give a talk on the ' Linking Rings ' at the Magic Circle on March 26th, 1952. This should be an outstanding talk and demonstration.

The talk still goes on as to whether the public want to laugh, whether they want to be mystified or whether they want to be mystified and laugh. There can be no fixed law. Only the great personalities (and this invariably means a known name) can work in the grand style. They are few. The trick of conjurers have a conversational manner. The real funny men are very few and to our own way of thinking they could increase their own commercial value by not only making people laugh but by using effects that were outstanding for whilst the grand manner can ornament the trivial effect so that it ranks as a great mystery, the irick alone with the comic conjurer has to be outstanding. To-day we think the act that has the greater commercial value is one that is fast moving, has plenty of colour and can be worked if necessarily with the audience on all sides. The succession of surprises idea which goes very much against the grain of a purist, is coming into its own in those places where a performer has to obtain attention from people who have gone out with the main idea of eating and drinking or over drinking. Certain tricks of the messy sort are definitely out, for floors must not be spoilt. We were surprised in reading an article the other day on the routining of a magic show that the writer suggested among other tricks, the Chinese Rice Bowls. Heaven help the performer who in a floor show spilt grains of rice or something similar all over the place.

At Southampton on Saturday, the 10th November, and the Unique One Day Get-together on the 11th, we spent an enjoyable time. Dealers offering at Southampton were quite good and we were impressed by Gil Leaney's Square Circle production castle (a giveaway at 50/-) and his card stab which is being sold far too cheaply at 5/-. Unique had a very fine clock dial in plastic and chrome, the setting device being just the last word. We were just a bit too late to see one or two of the stands, but two of the Carlos items are reviewed in this issue.

JAMES DOUGLAS'S "JUST IN TIME "—continued fr glances through. He states that it is a message from the dealer from whom he purchased the trick he has just attempted, and begs permission to read it aloud as follows : Dear Magician,

With reference to the card trick which you bought yesterday, I find you unfortunately left the directions to work this correctly behind on the counter. I had an idea that you might show this at your performance to-night so I have taken the liberty of enclosing the three cards which have been chosen this evening and trust everything will end satisfactorily.

Your sincerely,

The performer retorts, " Isn't that nice of him," and inserting his hand in the envelope removes three cards which are admitted by the selectors to be the chosen ones.

The working of the trick is simplicity itself and involves nothing more than the force of three cards, but the letter and climax lifts the effect above all ordinary card tricks. Ordinary playing page 11

cards may be used but the use of names was to get away from the idea that the trick was a card experiment.

Requirements. Pack of cards with film star names and several'duplicates. Most of these are for repeat shows when variation of the force names is necessary. A small tray. Envelope with three cards, duplicates of the three top cards of pack, and a letter worded similarly to that described.

A friend is asked to bring in the envelope and contents at the appropriate moment, preferably from outside the room or hall where the show is taking place.

Show cards all different, false shuffle keeping the three force cards on top, place on tray and allow cut. Mark cut by placing lower half across the top portion. This is the usual strategem. Tell story of purchase and then allow three cards to be removed at " Cut " by removing top part, thus forcing the three cards desired. Don't attempt to touch the cards unless absolutely necessary. Allow a shuffle by each assistant in turn. Make a pretence of being confused and then build the effect to a successful conclusion when the envelope is handed to you and the contents are disclosed.


The forefinger tip of the left hand now pushes the bottom half (B) of the pack towards the right hand as in the Hindu Shuffle, and the right hand removes that portion (B) and brings it over and on top of the top half (A).

The cards separated by the right thumb are now allowed to drop on top of (A) while the thumbs and fingers change their grip to the other half of the pack, i.e., left hand now grips (B) while the right hand holds (A) and without pausing cuts the pack again, bringing (A) (with the cards from the bottom of (B)) once again on top of (B).

The Ladies' Looking Glass.

The actual effect is very similar to the Hoffmann version. Four pairs of cards are chosen and returned by four members of the audience. They reappear one of each pair at the top and bottom of the pack.


1. 1st spectator is requested to select a card, the pack is now spread faces up towards him so that he may remove a second card of the same value as his first choice, to help him remember. Performer, of course turns his head away at this stage. (Hugard.)

2. Pack is fanned loosely for the return of the cards and by means of the Slip-out Location these cards and the card immediately below them are passed to the bottom of the pack. False shuffle to retain bottom stock.

Position : The bottom card is an indifferent card, next two are the two chosen cards.

3. Repeat 1 and 2 for each pair of cards chosen.

Position : After fourth pair has been controlled. Bottom card indifferent, next two are the last pair chosen, next, indifferent card followed by the third pair. Indifferent card, second pair, indifferent card, first pair, remainder of pack.

4. Place squared-up pack on the left hand or on the table, allowing audience to see that no breaks are held, without, of course, mentioning the from page 10

fact ; and state that the eight cards are hopelessly lost in the pack ; but you will try by touch to cut the pack at each selected card.

5. Show bottom card to the person who selected the fourth pair asking him if either of his cards is at the bottom. Show the top card repeating the question.

8. Execute the Over Cut bringing the two bottom cards to the top of the pack. (One indifferent card and one of the selected pair). The selected pair will now be at the top and bottom of the pack.

(a) Without removing these cards ask the next assistant (third) if his cards are at the top or bottom of the pack. You will now need to Over Cut three cards, or

(b) Remove the selected cards and push them into the pack, or

(c) Remove the selected cards and leave them on the table in pairs. See below.

7. Repeat 6 for each pair selected.

It is effective, as in the Hoffmann version, to apparently forget the pair selected by the first assistant. These can eventually be produced either by bringing them as usual one top and bottom, and gripping the pack firmly, throw it sharply upwards retaining the top and bottom cards, then moving the hand smartly to meet the pack apparently catch the two cards as the pack scatters ; or, and this obviates collecting the scattered cards, Over Cut to remove the indifferent card, and place the pack in a Jumping Card Box (see Modern Magic) causing the last pair to fly into the air.

Regarding 6 (c) above. I eventually retain the cards in pairs at the bottom of the pack in readiness to perform the Triple Coincidence effect using the Paul Curry Turnover Change. I first saw this performed by Alex Elmsley. Of course one or two other effects will be worked between these two, otherwise the fact that the same cards are used will be too obvious.

d Wmd a&aut ffiaoUt, and ¿Routines, il Any Number Can Play " (A Carlos Exclusive.

Marketed by the Carlos Studios, 68, North Road,

This is a mental telepathy with cards which had as its prototype " Thoughtwaves ". Two very nice subtleties come into the present version.

In effect, a number of cards are handed out to any number of spectators up to six. Each thanks of a card. A number of boards to which playing cards are aflixed are then introduced, the whole pack being represented. These are mixed, and through their rre<:ium the spectator indicates whether he sees his card. The name of the card is then given by the performer. The routine brings with it the necessary-boards and instructions. In the notes on presentation we are rather surprised that the authors have omitted the greater effect that could be obtained by the performer adopting a blindfold. The would-be purchaser with this in mind will find that such a procedure will add to the effect without any means for hard work. A very good effect for drawing room or platform. For larger stage the performer could have similar boards made up with Jumbo Cards.

" Twin Minds," by Garry (published by Carlos Studios, 68, North Road, Brighton, price 7/6 for manuscript or with the necessary twenty-one patterned cards measuring 6x4, £\).

The effect of this is that whilst the medium is away from the room, one design amidst twenty-one is thought of by a member of a committee. The performer is either escorted from the stage or placed in some position decided upon by the committee. Despite this procedure, the medium has immediate knowledge of the card.

With the knowledge of how a mental telepathy team recently scored high marks from the public with a similar effect, we don't have to tell you that worked in the right way and manner, such an effect as this will credit the performer and medium with genuine powers of telepathy. The method is very simple indeed, and one cannot see any real snag that might arise. It is very good indeed, and for a husband and wife, boy and girl friend here is a something that will give them a very straightforward feat of pseudo telepathy. Unreservedly recommended.

Uncanny Hankies,' by George Blake. (Marketed by George Blake 9, St. Alban Road, Leeds 9. Complete with all the necessary apparatus for ¿A 10s.).

George Blake has done it again, and we feel certain that this lovely effect will find its way into very many programmes this season.

The effect is that after four coloured silks have been tied onto a length of tape by a member of the audience, they detach and then re-attach themselves. The climax comes when holding the tape aloft the conjurer requests the audience to name one of the silks. This done, the selected silk unties itself and falls to the floor. This is repeated with the remaining handkerchiefs. It is undoubtedly this last part that gives

JAMES DOUGLAS'S TWIN RIBBONS—continued from 9 audience that everything is fair and genuine. Meantime get the tip with ribbon on the right thumb, and at the same time remove the scissors from the pocket. Instruct the assistant to double his ribbon exactly at the centre and then take it from him in this state. Hand the scissors to the assistant, and place the ribbon in the left hand with the loop concealed in the hand, with the thumb-tip alongside it. In the same move, bring up the loop from the tip, so that it projects above the hand. Ask the assistant to cut the ribbon where it is folded (i.e., the loop) and then tuck the ends back into the fist, at the same time removing the tip. Casually roll the ribbon round the left hand, as you instruct the assistant to open the envelope to drop the cut (?) ribbon into it. Take the scissors from him to enable him to do the trick its name, for it is certainly uncanny to see the silks come away from the tape.

Far better than just reading the instructions and handling the apparatus, which incidentally is very well designed and incapable of going wrong, we had the pleasure of seeing the inventor perform the effect. It is a hundred per cent, visible and deceptive magic, and we suggest that those interested should make an effort to get there first with it. Unreservedly recommended.

" Zodiac Telepathy," by Ken de Courcy (published by

George Armstrong, 11, Monastery Gardens, Enfield, price 12/6).

Within a very nicely printed and illustrated booklet of some 19 pages, Mr. de Courcy details the method of achieving a novel type of two-person mental telepathy act. Besides the more usual effect of the medium giving the names of various articles handed to the transmitter, the act is concluded by various members of the audience giving their birthday after which the medium details this, together with a relevant horoscope.

The reader would imagine that such a presentation would entail a great deal of memorisation on the part of both the medium and the presenter. This, however, is not so. The whole routine could be learnt, ready for rehearsal, in an evening by reason of the fact that the originator has added a subtlety that kills the normal hard work of such an act. This makes it of great value to those who are not full-time magicians, and have little time to give to practice.

Whilst the scope of such a routine quite naturally is limited, we feel certain that its merits in the hands of a sincere showman could make it a talked-of feature. To those who in the normal course of show business sell horoscopes, it is a very natural lead in. The simplicity of the method is commendable, and the whole routine is unreservedly recommended.

this, and place them in the right trousers pocket, leaving the tip there too. Drop the ribbon into the envelope and ask the assistant to seal down the flap.

Cross over to the pupil and hold his envelope while he removes the ribbon. Hand the scissors to him so that he can cut it in the centre, roll it up as shown, and drop it into the envelope. Seal the flap and return the envelope to his care.

Instruct the assistant (with the unfaked envelope) to open it and show the restored ribbon. Turn to the pupil and casually take the envelope, open it (i.e., the secret compartment) and tip out the ribbon, remarking, " I see you followed my instructions correctly, sir. All I wish from you and your friend now is your word that you won't tell anyone how we did it. Thank you."


A NEW AUTHOR — A NEW BOOK — A NEW APPROACH CAN'T SEE A complete card act, in the reputation making class, incorporating six Star Effects:


Seven More Card Miracles GAMBLERS DELIGHT :: A.B.C. DEALER :: KOYINCIDENCE :: THE LAST CARD :: ANY NUMBER :: EVENS :: ONE POUND REVELATION And SWITCH IT — a fool-proof method for switching packs.

Price 7/6 ; Postage 3d. THE MAGIC WAND PUBLISHING CO., 11, Monastery Gardens, Enfield, Middx.

Ken De Courcy's


MANY, MANY purchasers say, " I bought this routine on ' spec ', thinking that it would probably take too much study for us to learn. But now, with nothing more than an evening's practice, we have an act that we can perform anywhere, at any time!".

ANYONE can master this outstanding two-person Mental Telepathy Act in an evening, and they will be able to transmit almost any object handed up with NO OBJECT LISTS TO LEARN, ONLY NINE CODE WORDS, AND ALL THE WORK DONE BY A CLEVER BUT SIMPLE PROP. THAT CAN BE BOUGHT FROM ANY STATIONERY STORE AND EASILY ADAPTED.

And besides describing objects, the Medium correctly names birth-dates and gives CONVINCING HOROSCOPE READINGS although she need have NO KNOWLEDGE OF HOROSCOPES. Once again, all ;he work is done by the same simple prop.

Don't miss this. If you have a wife or a girl friend you will be able to perform this act NEXT WEEK if you buy it NOW.

PRICE 12/6; postage 3d. From the publishers





Sales are limited, and in conformity with our policy and our undertaking to purchasers, no more will be sold in the following places for 18 months: Manchester, Southampton, Portsmouth, Derby and Bournemouth



Price 50/- direct from


After many, many requests, George Blake Releases


They Untie When They're Told!

A feature trick in any programme. Four silk handkerchiefs, tied upon a tape, remove themselves and then return to the tape. So far—more or less ordinary magic, but READ ON.

The Performer offers to show the audience what happened and holds the tape in full view. Audience call out any choice of hanky (they may-change their minds if they wish) and that handkerchief is seen to unknot itself from the tape and fall to the ground. This is repeated until all four silks have unknotted themselves in a freely chosen order.

George Blake is still using the same apparatus after 23 years continuous showing. " Uncanny Hankies " is still a feature trick in his programme and can be in yours.

Silks, tape and everything necessary including six-page booklet of clear instructions and illustrations.

£4 - 10 - 0. (Only a limited number of sets will be sold).

(Another George Blake Special.

" If it won't Entertain, I won't Entertain It.")


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